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26<br />
They say that home is where<br />
the heart is; and SIMON<br />
TILLBROOK finds that the<br />
Everest ECS-410 fits in right at<br />
the centre of Summit’s popular<br />
processing family, with all of<br />
the hereditary traits that you’d<br />
expect from the brand.<br />
THE REVIEWER<br />
SIMON TILLBROOK is the Principal<br />
Music Tutor at Islington Music<br />
Workshop in London. The rest of<br />
his time is spent as a freelance<br />
engineer, mainly in the USA.<br />
The Summit Everest ECS-410 is offered up as Summit’s<br />
flagship channel strip. The ECS-410 is made up of four<br />
sections, each independently accessible via the rear<br />
panel connections.<br />
The four sections of the ECS-410 are the Mz2<br />
microphone preamplifier and DI, the Dc1 Dual mode<br />
dynamics processor, the Fe1 three-band passive equaliser,<br />
and the Db2 Master output/DriveBuss.<br />
The input and output stages of the Summit Everest<br />
ECS-410 give you a choice of either solid state or tube<br />
processing, maximising the sonic characteristics and<br />
flavour that can be achieved. In the case of the Mz2, we<br />
have, after the gain, an interstage Jensen line trans<strong>for</strong>mer<br />
<strong>for</strong> some additional character be<strong>for</strong>e feeding into the<br />
solid state or tube stages.<br />
A unique aspect to the Summit Everest ECS-410 is<br />
the TouchPatch routing system. A series of buttons on the<br />
front panel allow you to configure the order of process<br />
sections that feed into the DriveBus output. There are ten<br />
different configurations that are all detailed in the easy<br />
to follow user manual. Any section not in use through<br />
the TouchPatch routing can be independently used and<br />
accessed through the rear connections.<br />
The unique aspect of the ECS-410 is the TouchPatch<br />
routing system. This allows you to route any of the<br />
sections both to and from any other section, or bypass all<br />
internal routing to allow external independent access to<br />
the four process sections of the ECS-410.<br />
The rear of the Summit Everest ECS-410 clearly divides<br />
the available connections in relation to the four sections.<br />
The Mz2 Pre has balanced XLR I/O, plus a TRS balanced<br />
output and insert TRS. The insert point appears post the<br />
trans<strong>for</strong>mer and gain control, and pre the solid state or<br />
tube preamplifier. DI input is via the front unbalanced<br />
Hi-Z jack socket.<br />
The Dc1 dual mode compressor has balanced XLR<br />
I/O, jack sockets <strong>for</strong> stereo linking another unit, and side<br />
chain input.<br />
The Fe1 passive three-band equaliser simply has<br />
balanced XLR I/O, and the Db2 DriveBuss has balanced<br />
XLR input, plus XLR and TS outputs.<br />
Front Panel Sections<br />
The first section on the Summit Everest ECS-410 is the<br />
Mz2 Preamplifier. We have +60dB of gain on the rotary<br />
control with ten segment LED input level metering. A set<br />
of switches gives us access to phase reverse, phantom<br />
power, -20dB pad, high pass filter with a 60Hz turnover<br />
frequency, and discrete solid state or 12AX7A tube output<br />
selection. An LED indicator lets you know that the internal<br />
TouchPatch system is engaged.<br />
The Dc1 compressor has two modes that can<br />
be selected next to the LED gain reduction meter.<br />
Classic mode is a soft knee smooth and light compression,<br />
and Tight is a more aggressive limiting style of<br />
compression. A TouchPatch LED indicator and a Bypass/<br />
Link switch follow rotary controls <strong>for</strong> the usual parameters.<br />
The Fe1 three band passive equaliser follows with cut/<br />
boost and frequency selection <strong>for</strong> each band.<br />
Frequency selection rotary controls are stepped<br />
selectors and the high and low bands are switchable<br />
between peak and shelf characteristics. In peak mode all<br />
bands have a bandwidth of two octaves. A TouchPatch<br />
LED and bypass switch complete the Fe1.<br />
The final section of the Summit Everest ECS-410 is the<br />
Db2 DriveBus master output. To the side of the output VU<br />
AUDIO MEDIA MAY <strong>2009</strong><br />
meter are LED indicators <strong>for</strong> overload and drive. The latter<br />
gives a visual idea of how hard the high voltage output is<br />
being worked. A switch lets you select either bypass, or a<br />
choice of solid state or tube output options.<br />
The small Drive rotary knob controls the amount<br />
of signal feeding either the tube or solid-state output<br />
amplifiers as you have selected <strong>for</strong> added tone to the<br />
sound. A large Master Output level control gives up to<br />
20dB of additional output gain.<br />
In Use<br />
Starting with the Fe1 equaliser, this is based on the<br />
Summit FeQ-50 and delivers all the musicality that this<br />
passive design has to offer. Even when used with fairly<br />
extreme levels of cut or boost, the Fe1 never sounds really<br />
SUMMIT AUDIO EVEREST ECS-410<br />
Recording Channel Strip<br />
aggressive and excessively processed. This theme carries<br />
through to the Dc1 compressor. In classic mode the Dc1<br />
is all about subtle, smooth, and uncoloured control.<br />
The audio signal dictates the per<strong>for</strong>mance as the Dc1<br />
follows and rounds off the edges sympathetically.<br />
When switched to Tight mode, we are given a more<br />
extreme and punchy sound, but still very musical and<br />
smooth even with this setup.<br />
The impression is that the Summit Everest ECS-<br />
410 processor sections are all about smooth musical<br />
interaction, and this works beautifully.<br />
The Mz2 preamp and Db2 DriveBus output sections<br />
proved to be extremely flexible. When I tested the Summit<br />
Everest ECS-410, I used them both in many combinations<br />
and individual instances in both solid-state and tube<br />
modes. You can achieve a clean crisp stunning quiet<br />
feel, or a full-blooded saturated and aggressive tone.<br />
The versatility of the ECS-410 when it comes to sonic<br />
flavour is exceptional.<br />
The TouchPatch routing is something you appreciate<br />
more as you use the ECS-410. Quick setup changes<br />
between onboard configurations, and the ability to<br />
externally access unused stages of the Summit Everest<br />
ECS-410 means that a single unit can be accommodating<br />
various session process requirements simultaneously.<br />
Conclusion<br />
The Summit Everest ECS-410 is everything I have come<br />
to expect as a user of Summit <strong>Audio</strong> equipment. Each of<br />
the four sections per<strong>for</strong>ms fantastically, giving numerous<br />
sonic possibilities. The TouchPatch system is a very<br />
welcome addition, providing us with the opportunity<br />
to use each of these process stages on a single signal, or<br />
share with other parts of our system.<br />
The Summit Everest ECS-410 is about musical flexibility<br />
and, in this regard, is a wonderful new member of the<br />
Summit range. �<br />
...................................<br />
INFORMATION<br />
� GB£2,800.00 (exc.VAT)<br />
� Summit <strong>Audio</strong> Inc., PO Box 326, Gardnerville,<br />
NV 89410, USA<br />
� +1 775 782 8838<br />
� www.summitaudio.com<br />
� UK Distributor: SCV London<br />
� +44 (0) 208 418 1470<br />
� www.scvlondon.co.uk